Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Austria and from Lyon.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1968 to 1972.
I'm losing my edge.
To all the kids in Toronto and Houston.
I'm losing my edge to the art-school Tehran kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Babytalk to the grime kids.
I played it at CBGB's.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Lakeside. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Make Up record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echospace,
Procol Harum,
The Associates,
Visage,
Joey Negro,
Ohio Players,
ABBA,
Urselle,
Pylon,
Masters at Work,
Bush Tetras,
World's Most,
Mark Hollis,
Dorothy Ashby,
The Royal Family And The Poor,
EPMD,
Joy Division,
Section 25,
The Moody Blues,
Rites of Spring,
Lou Reed & Metallica,
The Gun Club,
Sarah Menescal,
Gary Puckett & The Union Gap,
Cheater Slicks,
Harpers Bizarre,
Liliput,
Jacques Brel,
Public Enemy,
F. McDonald,
Neu!,
Loose Ends,
Alton Ellis,
John Lydon,
Wally Richardson,
Popol Vuh,
The Count Five,
Juan Atkins,
Brick,
Bootsy Collins,
Chris & Cosey,
Rakim,
Lebanon Hanover,
Agitation Free,
The Modern Lovers,
Bang on a Can All-Stars,
Stereo Dub,
Jacob Miller,
Al Stewart,
Angels of Light & Akron/Family,
The Alarm Clocks,
Yusef Lateef,
U.S. Maple,
Electric Light Orchestra,
Jeff Lynne,
Avey Tare,
Barbara Tucker,
Bill Wells,
Pussy Galore,
Gang Starr,
Avey Tare's Slasher Flicks,
Pierre Henry, Pierre Henry, Pierre Henry, Pierre Henry.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.